Living easy, living freeSeason ticket on a one-way rideAsking nothing, leave me beTaking everything in my strideDon't need reason, don't need rhymeAin't nothing I would rather doGoing down, party timeMy friends are gonna be there too

“And thou shalt not let any of thy seed pass through the fire to Molech, neither shalt thou profane the name of thy God: I am the LORD.” (Lev. 18:21).

It is NOT a mere coincidence that the world has become infatuated with the occult, Satanism, and Witchcraft. It is aimed at preparing people to worship the beast.”…with which he deceived them that had received the mark of the beast, and them that worshipped his image. These both were cast alive into a lake of fire burning with brimstone.” (Rev. 19:20).

DANGERS OF WITCHCRAFT

“What’s wrong with joining the Vampire Club or attending a seance?” your child may ask. For some, exposure to the occult via fantasy games, the media, or music may lead to greater involvement in a dangerous world. Children are now seeing spooky spiritual things in their rooms. After feeding them with demonic imaginations, they call them unstable. The answer? Send them to doctors and fill them with drugs. There are millions of children in this position in America today. Millions of children are in darkness. Recommended by their Christian leaders, millions are being entertained by puppets, Christian heavy rock bands, Hip Hop, cartoons, and now, magical fantasy, the occult filled movies. We live in the day and age where there has been such a growing proliferation of ways into the world of mysticism, by video games, DVDs and the Internet, leading children into what has become the accepted world of wizardry and imagination. Such playing with fire is a stepping stone into the mystical practices that will surely damn millions of young souls into raging fires of hell!

THE DEVIL WANTS OUR CHILDREN

My friend, witchcraft is an evil. The Bible is God’s Word and expressly FORBIDS anyone from dabbling in witchcraft. See (2 Chron. 33:1,2 and 6-read) . . . The Bible teaches that God became angry with king Manasseh concerning witchcraft.The primary danger of the occult is that it is a path away from God brings one into contact with the demonic realm. Demonic forces seek to deceive and destroy individuals. Cult experts and psychologists have documented the connection between occult involvement and psychological and emotional disorders. Participants spend numerous hours studying, practicing, and playing games that involve conjuring demons, sacrificing creatures in cruel rituals, controlling sinister forces, and casting spells to disable and kill their enemies. This can affect a person’s spiritual, mental, and emotional state.

The video game Grand Theft Auto has been controversial since it came on the scene in 1997. The series has capitalized on the extreme graphic violence that can be perpetrated by players as they commit robberies, "pimp" women and participate in organized crime assassinations.

By educating our children, we can make an impact on how they view the violence that is thrust upon them every day. We can help them make healthy choices when it comes to how they want to spend their money and thereby have an impact on this violent video game machine.

The Issue

As parents, how can we stand by and let something that is so violent become a part of our daily lives while it make millions of dollars by exploiting the minds of our children? Conservative media expert Ted Baehr cites that children will consume "63,000 hours of music, movies, television, iPods, and all of that by the time they're seventeen."

This is not the old make believe "Cops and Robbers" or "Cowboys and Indians". It is a buy in to a level of violence that was never imagined before. Grand Theft Auto is pure, unadulterated criminal indoctrination. Violent games affect children in different ways, depending on what stage they are in developmentally. As parents, we are responsible for seeing that we help our children make the right choices. "Children don't want to be manipulated. They want to be responsible. Help them to do that," says Baehr.

Educate Yourself, Set Your Children up to Succeed

Baehr has created a five-step process parents can follow to help educate their children on the ways of the media, which all parents should watch prior to letting their children select their own media. It can be seen at along with several of Baehr's other videos at iQuestions.com, a new online video based website.

Right vs Left

mariaAdministrateur Messages postés : 15263

Posté le 16/03/2008 06:54:32 (16/03/2008 15:54:32)

OFFICIALS SAY MIDDLE SCHOOL STUDENTS PLOTTED KILLINGS

Last Update: 3/15 1:49 pm

(IDM) DELAND, Fla. (AP) - Authorities in DeLand, Florida, say three middle school students have been charged with plotting to kill their classmates and themselves.

Police say two boys and a girl, all 13, were taken into custody shortly after the plan was discovered on March 5th. Their mental health was evaluated before they were transferred Friday to a juvenile detention center.

Investigators say the alleged ringleader had exchanged instant messages with a DeLand Middle School classmate, saying: "I will kill every person I see. ... Everyone will pay for what they did to me."

Authorities say the student, who claimed he was being teased and picked on by other students, threatened to lock the cafeteria doors during lunch and shoot everyone in sight.

The classmate was so disturbed, she sent the messages to a family member, who contacted the sheriff's office.

­"Then goeth he, and taketh with himself seven other spirits more wicked than himself, and they enter in and dwell there: and the last state of that man is worse than the first. Even so shall it be also unto this wicked generation." Matthew 12:45

One of the hottest celebrities today is the vulgar, violent and demonic Ozzy Osbourne. MTV recently launched the profanity-soaked The Osbournes family show. The Osbournes is simply filmed during Oz and family’s normal (if you could possibly call it that) daily life. No acting. . . No pretense. . . Just simply being their abnormal self. It’s just "family time with The Osbournes". I stomached one nauseating viewing of The Osbournes (and believe me – that was one too many!). I counted 51 occurrences of the "F-word" in a little over 15 minutes (episode "Dinner with Ozzy"). Profanity and perversion is spewed by all the Oz kin – Oz, wife, teenage daughter and son. Of course, MTV "bleeps" the worse profanity out, but the actual words are easily understood. In between the onslaught of f-words, and depravity, a drug-cooked-burnt-out Ozzy staggers, mumbles, shakes and screams in a state of spaced-out, confusion. Much of the subject matter and perverse acts can not and will not be repeated in this article – but believe me – it’s sicko, sicko and sicko. . . And sicko. . .

NEW: Gunman died in hospital after turning the gun on himself, officials said

Police say the shooter was a student, no motive established

Police probing videos posted on YouTube by alleged gunman

(CNN) -- The suspect in a shooting rampage at a college in Finland that left at least nine dead has died from a self-inflicted gunshot wound to the head, a hospital official told CNN Tuesday.

Undated image -- posted on the Internet -- of the man alleged to have carried out the shootings

1 of 4 The male suspect survived for a while before dying at Tempere University Hospital in southern Finland, medical director Matti Lehto said. He had no family with him.

Earlier, MTV-3 of Finland reported that police interviewed and released the suspect a day before Tuesday's bloody carnage.

The authorities say they became interested in the 22-year-old student after he allegedly posted violent videos on YouTube.

Four videos of a man firing a pistol at a shooting range were posted by a "Mr. Saari" from the town of Kauhajoki -- where the college is based -- according to his YouTube profile.

The profile also included a video tribute to the Columbine High School shooters -- Eric Harris and Dylan Klebold -- at the top of the man's favorites list.

The videos were posted over a three-week period earlier this month. None were posted in the last week. Watch more about the YouTube videos »

The account was suspended within hours of the shooting.

MTV-3's Foreign Editor Risto Puolimatka told CNN that the suspect was also issued with a temporary gun license last month. It was the gunman's first license, Puolimatka said.

Officials say the man began firing at around 11 a.m. local time in a classroom at the college in the town of Kauhajoki in southwestern Finland before shooting himself.

Several other people were wounded in the attack, but officials could not immediately say how many.

Jukka Forsberg, a maintenance worker at the school, said the man was wearing a ski mask and walked into the building with a large bag, the agency said. About 150 students were on campus at the time.

Smoke billowed from a building on campus but officials could not immediately say what caused the fire. Three hours after the shooting, firefighters were still trying to bring a blaze under control, fire official Olle Peauttonen told CNN. Watch more about the casualties »

Tapio Varmola, who was visiting the school at the time, told CNN he was in a building about two blocks away when the shootings occurred.

"I did not hear anything," he said. "We did not know what happened. It became clear later."

After the shootings, he said, he heard students shouting. Police came about 10 minutes after they were called, Varmola said.

"It took two hours to get this situation ended," he said.

The school taught late teens and young adults, Jarkko Sipila of MTV 3 told CNN. "It's more or less like an agricultural or professional school where people teach how to make food or how to cook in big kitchen, in industrial kitchens," he said.

Kauhajoki, with a population of about 15,000, is about 290km (180 miles) from the capital, Helsinki.

The incident comes almost a year after another school shooting left nine people, including the gunman, dead in the Finnish town of Tuusala.

Before that shooting, the gunman, 18-year-old student Pekka-Eric Auvinen, posted a video on YouTube titled "Jokela High School Massacre 11/7/2007" -- identifying the date and location of the attack.

"All these memories are being brought back and people are asking the question, 'Why again'?" Sipila said.

Finland enjoys a strong tradition of hunting and has a high proportion of gun ownership, with 2 million firearms owned in a nation of 5 million people.

KAUHAJOKI, Finland - The gunman in Finland's latest school shooting likely bought his gun in the town where a teenager went on another rampage less than a year ago, police said Wednesday, adding to the growing list of eerie similarities between the massacres.

Matti Saari, 22, bought a .22-caliber gun at a store in Jokela, about 155 miles from his home, and on Tuesday killed 10 people and himself, police said. Last November, 18-year-old Pekka-Eric Auvinen likely got his gun at the same store and went on to kill eight people and himself, they said.

The lead investigator said the shootings were so similar that the gunmen might have been in contact with each other.

"Their actions seems so similar that I would consider it a miracle if we did not find some connecting link," Jari Neulaniemi was quoted as telling the Finnish news agency STT. But authorities did not know whether Saari went on his rampage to copy Auvinen's earlier shooting.

Police said the two men likely bought the guns at the same store, but declined to say how they knew.

Earlier, police detailed the similarities between the two rampages: Both gunmen posted violent clips on YouTube before the shootings, both were fascinated by the 1999 Columbine school shootings in Colorado, both attacked their own schools and both died after shooting themselves in the head.

On Wednesday, the government pledged to tighten Finland's gun laws and keep mentally unstable people from obtaining firearms. The move came a day after Saari opened fire at a vocational college, killing 10 people — including eight female students — before shooting himself in the head.

Police said there was no indication that women were specially targeted, they just made up the majority of students at the Kauhajoki School of Hospitality, 180 miles northwest of Helsinki.

On a visit to the college, Prime Minister Matti Vanhanen said it was time to consider restricting access to guns in a country with more than 1.6 million firearms in private hands.

"We need to study if people should get access to handguns so freely," Vanhanen told reporters. "I'm very, very critical about the guns and during next few months we will make a decision about it."

Interior Minister Anne Holmlund said the government was working on a proposal to restrict gun laws by giving police greater powers to examine gun applicants' health records. Saari acquired a permit for his weapon in August, police said.

"(Police must) have the best possible information on the state of health of the applicant when deciding on the license," Holmlund said.

Finland has deeply held hunting traditions and ranks — along with the United States — among the top five nations in the world when it comes to civilian gun ownership. After the previous massacre, the government had pledged to raise the age for buying a gun from 15 to 18 but never did so.

The government also called for an investigation into police handling of the case. After an anonymous tip, police had questioned Saari on Monday about YouTube clips that showed him firing a handgun. But he was released after questioning because police said they found no reason to hold him.

"We will obviously investigate what the foundation was for the decision to let him keep his weapon," Vanhanen said.

Police were searching for a person who appeared to have filmed some of Saari's YouTube clips but added there was no indication Saari had an accomplice. A video clip Saari posted on the Internet showed him pointing his gun to the camera and saying "You will die next" before firing four rounds.

In Kauhajoki, a town of 14,000 people, flags flew at half-staff for a national day of mourning. Grieving residents placed candles and flowers outside the school.

The National Bureau of Investigation said those killed were eight female students, one male teacher and one male student. Doctors said a 21-year-old woman that Saari shot in the head had two operations and was in satisfactory condition Wednesday.

Neulaniemi said there was no indication that Saari had singled out women and added he probably knew all those he killed, since most students were from the local area.

"Most of the students in this institution are female," Neulaniemi said, explaining the high number of women killed.

Witnesses said panic erupted at the school, which offers courses in catering, tourism, nursing and home economics, as the masked gunman entered Tuesday and opened fire. He carried a bag of flammable liquids that he used to start a fire and burn some of the bodies.

Neulaniemi said Saari "really went out with the intention of killing," leaving a message saying he wanted to kill as many people as he could. "He tried to shoot fatal shots," he said.

___

Associated Press writers Matti Huuhtanen and Jari Tanner in Helsinki and Karl Ritter in Stockholm, Sweden, contributed to this report.

From left, Phil Lesh, Bob Weir, Bill Kreutzmann and Warren Haynes of the Dead at the Gramercy Theater in Manhattan last month.

By BEN RATLIFFPublished: April 10, 2009

I WENT to a Phil Lesh concert in New York last fall, on the third night of a 14-night run. I sat next to a man who looked informed: he listened with familiarity and good humor and a touch of impatience, as if he wanted to fast-forward through certain parts.

“Seen any of the other shows?” I asked.

“I’ve been to every show since 1972,” he said. “In the New York area.”

His name was Jimmy. By his definition, “every show” meant every concert by the Grateful Dead, the San Francisco rock band, until the death of Jerry Garcia, its guitarist and singer in 1995, and then every subsequent show by Phil Lesh, the band’s bassist, who has led various touring bands with a sound much in the spirit of the Dead. We got to talking. I asked when he thought the Dead reached its peak, game to try out a half-formed argument for 1975, or thereabouts.

“Well, I agree with the people who say it was May 8, 1977,” he said.

Jimmy was jumping a level on me. There are at least five different levels to how fans talk about the Dead. The basement level concerns the band’s commercially released albums. This is how a lot of interested but inexpert people once talked about the Dead — myself included — in the early 1980s. I had a couple of skunky-sounding audience tapes, tinkling out distant brown scurf from Nassau Coliseum, but I was an unconnected kid. I listened to “Live/Dead,” “Europe ’72,” and “Anthem of the Sun” — all in the racks at Sam Goody.

The next level is periods or eras, the conversation I was prepared for. There was the aggressive, noisy, color-saturated improvising from 1968 to 1970; the gentler and more streamlined songwriting and arranging of ’72 and ’73; the spooky harmonies of 1975; the further mellowing and mild grooves that lay beyond. Next comes the level of the Dead’s best night: Jimmy’s level, one based on years of close listening to noncommercial live recordings, from the band’s own engineers or radio broadcasts or audience tapers. These began circulating in the early ’70s and became commonplace by the mid-1980s, after I had wandered off the trail.

After that comes particular songs within particular performances. (Some will say the “Dark Star” from Veneta, Ore., on Aug. 27, 1972, or the “Dancing in the Street” from Binghamton, N.Y., on May 2, 1970, encapsulates much of what they like about the Grateful Dead.) Beyond that is an area with much thinner air: here involving, say, audience versus soundboard tapes, the mixing biases of different engineers, techniques of customizing early cardioid microphones, and onward into the darkness of obsession.

In any case, once you get to Level 3, you have a sufficiently authoritative understanding of the Dead. Or so I thought.

The Grateful Dead was a 30-year ramble of touring. It continued after Garcia’s death in a kind of post-history: first as the Other Ones, and later simply as the Dead (no “Grateful”), which is the name it will tour under this year. (The band now includes the original members Phil Lesh, Bob Weir, Mickey Hart and Bill Kreutzmann, as well as the guitarist Warren Haynes and the keyboardist Jeff Chimenti; the tour begins today at the Greensboro Coliseum in North Carolina.)

It was also an intellectual proposition, in how the band brought new information and states of mind to a century of American music: bluegrass, folk, blues, Motown, Bakersfield country and so on. For me it often works best intellectually; I confess I hear shortcomings even in a lot of good Dead shows — intonation problems, weak singing, calamitous rhythm. I would say I’m more interested in the question of its best night ever than the answer. But that may not be the right question anymore.

THE GRATEFUL DEAD’S live recordings represent a special order of surfeit. Nearly 2,200 Dead shows exist on tape, of the 2,350 or so that the group played. Most of those are available online — either for free streaming on Web sites like archive.org and nugs.net, or for download on iTunes, like the “Dick’s Picks” series and the more recent “Road Trips” archival series, which uses master-tape audio sources. The obvious solution to this terrifying situation, one would imagine, is to delimit the options: to narrow that number down to a very small canon of the best.

The canon of great Dead shows was built over 20-something years of the band’s existence, and is still developing. It was first created by word of mouth — from the demons who started the cult of Dead tape trading in the early ’70s — and later by fanzines and books like “The Deadhead’s Taping Compendium,” three volumes of concert-tape reviews and essays on minutiae. There are also 12 published volumes of “Deadbase,” full notations of Dead performances; much of this information is available online at deadbase.com.

A poster by Stanley Mouse and Alton Kelley for a 1966 Grateful Dead show in San Francisco.

Because of the culture of taping and collecting around the concerts, the audience developed a kind of intellectual equity in the band. And as the fans traded more and more tapes, in the nonmonetary currency of mind-blow, a kind of Darwinian principle set in: the most-passed-around tapes were almost quantifiably the best. If a tape wasn’t that good, its momentum sputtered, and it became obscure.

Deadheads have often been polled about their favorite show, through fanzines and Web sites. The answers have stayed fairly consistent. May 8, 1977, at Barton Hall, Cornell University. The pairing of Feb. 13 and 14, 1970, at the Fillmore East in New York — perhaps the first widely traded shows. The Veneta and Binghamton shows. You’d think the canon would have been displaced as more and more information came along, but it hasn’t, really; it has only widened. I have spoken to young Deadheads who, surprisingly, respect the ancient judgments. “I’ll stick with May 8 because of its historical importance,” said Yona Koch-Feinberg, an 18-year-old from Manhattan. “That’s almost as important as the musical ability of the evening.”

DAVID LEMIEUX has been the tape archivist and CD producer for the Grateful Dead’s official archival releases since 1999. Mr. Lemieux said he has listened to the Cornell concert “virtually weekly” since the late ’80s.

What’s so great about that show? I asked him.

The group had just finished making the studio album “Terrapin Station,” which included a long and intricate suite sharing the album’s title; it was well practiced. Garcia had just completed editing of “The Grateful Dead Movie,” a concert documentary of sorts, and a long and costly ordeal. Perhaps the members felt unburdened and retrospective: the set list made an even sweep of the band’s career up to that point, from the early-repertory “Morning Dew,” with its cathartic but carefully paced five-minute solo by Garcia, to the up-to-date “Estimated Prophet.” (Much has also been made, by those who were there, about the Fátima-esque appearance of snow on that May evening.)

Mr. Lemieux characterizes the recording as the Dead concert one would likely want to pass on to the most people: it pleases the most tastes. But the Cornell tape also reached a critical number of people at a critical moment. Almost 10 years after the concert, a cache of soundboard tapes made by Betty Cantor-Jackson, the Dead’s live recording engineer, were scattered far and wide when her house in Nicasio, Calif., went into foreclosure and her possessions were sold at public auction.

The sound quality of the “Betty Boards,” which began circulating in 1987, was exceptional: so good that for the initiates, it nearly reinvented listening. She made her own stereo mix on a separate feed from the house P.A. mix, strictly for posterity, and she considered the mixes from 1977 among her best. (“I want you to be inside the music,” she once said of her audio ideal. “I don’t want stereos playing at you, I want you to be in there, I want it around you.”) The Cornell show was the first widely circulated tape to sound that good.

Also in 1987 the Dead had a hit single, “Touch of Grey.” Suddenly the band was so popular that it could sell out Giants Stadium in July and return in September for a five-night run at Madison Square Garden. A new excitement about the band, its present and its past, recharged its fan base and grew it enormously.

But the standards by which we judge the Grateful Dead have changed since then. Over the past several years it has become possible to know entire periods with the same detail and definition with which we once saw individual concerts. In some sense we’re rolling back the microscope to get a closer view.

In the late ’80s information access was limited. You had to work for your collection. It wasn’t all online. In 1987 the ability to point to a certain show — a Cornell ’77 or a Fillmore East 1970 — indicated great knowledge. But we can also now say that it indicated a kind of lack of knowledge. Because more and more of us now know, from better and better audio evidence, how the band sounded in the weeks and months around those famous nights.

For example the Dead played a concert 20 days after Cornell, in Hartford, that some, including Gary Lambert, a host of the Grateful Dead Radio show “Tales From the Golden Road” on Sirius XM, consider just as good. (That show, taken from the master tapes engineered by Ms. Cantor-Jackson, has just been released by Rhino in heretofore unbeatable audio as “To Terrapin: Hartford ’77.”) And it played a show in Buffalo one night later, on May 9, which Mr. Lemieux prefers.

“To me the question is: Does Cornell stand up to the rest of the tour?” said Dan Levy, a longtime fan of the band. (He wrote the liner notes for “Road Trips Vol. 2, No. 1,” a recent archival release of some 1990 performances.) “And then, since you can listen to a dozen shows from April and May of ’77, you realize that the next question is: How does one tour compare to another? This is where there’s some new motion in how the band is considered. The kinds of e-mails I’m getting now are saying things like, ‘We really should reconsider 1980.’ ”

IF you ask the elder members of the Grateful Dead’s touring retinue, the best-show question becomes quickly irrelevant. Owsley Stanley, known as Bear, the early LSD chemist and sound engineer for the Dead in the ’60s and ’70s, reacted with a kind of combative pluralism. “All the shows of my era were good,” he said in an e-mail message. “ ‘Best’ is a value judgment reserved for each person.” Then he moved on to received wisdom about shows that he knew intimately, having recorded them himself: “The Fillmore East shows in February of 1970 are seen by many as very special.”

Ms. Cantor-Jackson answered with similar indirectness. “Rumor has it,” she said by e-mail, “the fans’ favorite is a ’77 Cornell gig.” But she also wrote of a performance from July 16, 1970, at the Euphoria Ballroom in San Rafael, Calif., when the Dead was joined by Janis Joplin for the song “Turn On Your Lovelight.”

That show receives a dismal rating in the “Compendium.” But: Ms. Cantor-Jackson was there; San Rafael is her hometown; and Joplin had become important, and would be dead a few months later. Why shouldn’t her memory attach special value to that concert? This is an example of valuing the experience over the artifact: a way of appreciating the Dead that’s slipping away from us, gradually being replaced by a way that’s far less sentimental, far more critical, but curiously, inclusive rather than narrow.

Original members of the band seem interested by the best-show question, but aren’t inclined to think that simplistically. Having lived the 5,000 or 6,000 onstage hours in real time, they tend naturally toward the wide-view mode that the rest of us are only starting to know. I asked Mickey Hart, the drummer, what he thought about Veneta ’72, a winner in a best-show poll on the concert-recording site Lossless Legs, at shnflac.net. (It’s also — ahem — one of my favorites.)

“I don’t remember it,” he said. (To be fair, he was on a hiatus at the time.) He remembers periods, he explained. And bad gigs — Woodstock, for instance. A few free shows in the ’60s and ’70s, when playing felt like an act of generosity. And the band’s all-consuming, six- to eight-hour practice sessions of the mid-’60s, when it was pushing beyond blues and pop.

Since Mr. Hart obviously sees his time with the Dead as a journey, what does he say when someone starts asking him about the specifics of a single night, brandishing dates and concert-hall names?

“I say ‘Yes,’ ” he said. “I always say ‘Yes.’ ”

Mr. Lesh said he thinks along remarkably similar lines. He remembers the free shows, the early years, ’75 to ’77, parts of the late ’80s. He doesn’t remember Cornell ’77. “I haven’t listened to Cornell for a long time,” he said in a telephone interview. Was there any sense of immediate recognition, I asked, right after the band finished a great show?

“We may have walked off and looked at each other and said, ‘Whoa,’ ” he said. “But generally there wasn’t a lot of that. Performing takes a lot out of you. Physical and mental energy. When it’s been a good show, you’re kind of drained. ”

And what does he say to the pinpointers, the best-show-ever-ists?

“I appreciate it, and honor it, and, you know, wail on,” he said. “But it’s an individual thing. Maybe they were there. A lot of people gravitate to the shows that they had seen. Since Jerry’s death I get the feeling that a lot of the Heads need to confirm for themselves that it was as good as they thought it was.”

Maybe that’s the best one can do at the highest level of engagement. Not to try to listen for the best night ever; not even to listen for the best period ever. But to try to figure out why we’re listening at all.

This article has been revised to reflect the following correction:

Correction: April 11, 2009 A picture caption on Page 21 this weekend with the continuation of the cover article about the Grateful Dead misstates the date of the concert shown. The show in Hartford took place in May 1977, not 2007.

THOUSANDS GATHER AT APOLLO TO HONOR KING OF POP FANS FLOCK TO FAMOUS HARLEM THEATER FOR PUBLIC MEMORIAL

Jun 30, 2009 1:51 pm US/Central

YOU CAN READ ON THE BOARD OF THE APOLLO THEATER :THE APOLLO DEDICATES AMATEUR NIGHT TO MICHAEL JACKSONA TRUE APOLLO LEGENDWED. JULY 1, 2009

READ REVELATION 9 ABOUT APOLLO. WHEN GOD CREATE LUCIFER, HE GIVE HIM THE TALENT OF MUSIC. HE WAS THE KING OF MUSIC. HARLEM IS ALSO A CITY OF SORCERY AND DEMONS. WHY ARE THEY DECIDE TO PAY A TRIBUTE TO MICHAEL IN THIS CITY AND IN THIS THEATER CALL APOLLO? REV. AL SHARPTON TAKE A MOMENT OF SILENCE AT 5:26 P.M., THE TIME EAST COAST FANS LEARNED THAT JACKSON HAD DIED. HE WAS DANCING ON THE STAGE ON THIS POP MUSIC WITH HUNDREDS OF PEOPLES. CNN ANNOUNCED THAT THE FUNERAL OF MICHAEL JACKSON WILL BE ON JULY 4. THE DAY OF THE INDEPENDANCE DAY. WICH SURPRISE ARE THEY PREPARED FOR THIS DAY?

NEW YORK (CBS) ― Fans are paying tribute to Michael Jackson at Harlem's historic Apollo Theater, CBS station WCBS-TV reports. More than 40 years ago, the Jackson Five launched their career at the venue.

Thousands lined up along West 125th Street Tuesday with many adorned in large black sunglasses and fedora hats while dressed in multicolored sequined vests.

The memorial featured a eulogy by the Rev. Al Sharpton and a moment of silence at 5:26 p.m., the time East Coast fans learned that Jackson had died.

Shenia Rudolph, a fan from the Bronx, joined many who have been waiting for more than 12 hours outside the theater just to honor the King of Pop.

"He has made history. He is a legend in our own times," Rudolph says. "As from now, he is going to be remembered from here till tomorrow."

Many brought beloved scrapbooks and memorabilia while some were decked out in Jackson attire.

Elizabeth, N.J. resident Jasmine Silvestro is one of many to dress like the King of Pop.

"He has inspired me to be who I am today. He is phenomenal and he will always be in our hearts," Silvestro said.

Victoria Campomanes traveled from Vermont to pay tribute to Jackson and performed the moonwalk for all of her fellow fans.

"I just watched him and slowed down the film. I mean it's really just watching," Campomanes says.

Campomanes wore black high-water pants, black jacket, and a black fedora with the shiny, snow white shoes that Jackson wore in the Billie Jean music video.

"He was really inspirational to me. I'm into singing because of him and just the things he went through really helped me in some of the things I went through," Campomanes said.

Apollo ambassador Billy Mitchell was there that magical night in 1967 when the Jackson Five first performed at amateur night.

"To see young kids with that type of stage presence and that type of choreography, people would be able to come express their love for Michael," Mitchell says. "They'll be able to leave their memorabilia on the Apollo stage because, after all, this is where their career started."

Jackson was last at the Apollo in 2002 when former President Bill Clinton invited him for a Democratic National Committee fundraiser.

CAN YOU SEE THE SPIRIT OF YAHWE IN THIS SONG? NO, ONLY THE SPIRIT OF LUCIFER, THE EVIL ONE WHO CORRUPT THE SOUL.

Michael Jackson Tabloid Junkie Lyrics:

Speculate to break the one you hateCirculate the lie you confiscateAssassinate and mutilateAs the hounding media in hysteriaWho's the next for you to resurrectJFK exposed the CIATruth be told the grassy knollAs the blackmail story in all your glory

It's slanderYou say it's not a swordBut with your pen you torture menYou'd crucify the LordAnd you don't have to read it, read itAnd you don't have to eat it, eat itTo buy it is to feed it, feed itSo why do we keep foolin' ourselves

Just because you read it in a magazineOr see it on the TV screenDon't make it factualThough everybody wants toread all about itJust because you read it in a magazineOr see it on the TV screenDon't make it factual, actualThey say he's homosexual

In the hoodFrame him if you couldShoot to killTo blame him if you willIf he dies sympathizeSuch false witnessesDamn self righteousnessIn the blackStab me in the backIn the faceTo lie and shame the raceHeroine and MarilynAs the headline stories ofAll your glory

It's slanderWith the words you useYou're a parasite in black and whiteDo anything for news[ Find more Lyrics on www.mp3lyrics.org/8e2x ]And you don't go and buy it, buy itAnd they won't glorify it, 'fy itTo read it sanctifies it, 'fies itThen why do we keep foolin' ourselvesJust because you read it in a magazineOr see it on the TV screenDon't make it factualEverybody wants to read all about itJust because you read it in a magazineOr see it on the TV screenDon't make it factualSee, but everybody wants tobelieve all about it

Just because you read it in a magazineOr see it on the TV screenDon't make it factualSee, but everybody wants tobelieve all about itJust because you read it in a magazineOr see it on the TV screenDon't make it factual, actualShe's blonde and she's bisexual

ScandalWith the words you useYou're a parasite in black and whiteDo anything for newsAnd you don't go and buy it, buy itAnd they won't glorify it, 'fy itTo read it sanctifies it, 'fies itWhy do we keep foolin' ourselvesSlanderYou say it's not a sinBut with your pen you torture menThen why do we keep foolin' ourselves

Just because you read it in a magazineOr see it on the TV screenDon't make it factualThough everybody wants toread all about itJust because you read it in a magazineOr see it on the TV screenDon't make it factualSee, but everybody wants toread all about it

Just because you read it in a magazineOr see it on the TV screenDon't make it factualJust because you read it in a magazineOr see it on the TV screenDon't make it factualJust because you read it in a magazineOr see it on the TV screenDon't make it factual, actualYou're so damn disrespectable

During last month's MTV music video awards ceremony, actor Jack Black urged the audience join hands and pray to "dear dark lord Satan." In his prayer, the actor prayed that the musicians and nominees would have "continued success in the music industry." The awards program was broadcasted on the MTV network (a subsidiary of the Viacom Corporation) throughout the country through cable and satellite television.

The Radio City Hall audience readily acquiesced to Black's invitation to pray to the devil. In a video posted on YouTube, Black encouraged the large audience to join in by saying, "let me see those horns." Black, dressed in a "muscle suit" continued by asking the awards ceremony audience to join hands during "the prayer." He then held hands with actress Leighton Meester while he prayed aloud.

Black's prayer went basically unnoticed among most conservative and Christian media circles -- perhaps because they feel the comedian was simply joking as he displayed his contempt for Christianity with the prayer invocation. In fact, this would be in keeping with Black's previous behavior.

In 2008 he participated in a video that mocked supporters of California's marriage initiative, Proposition 8. In commenting on that video, the Culture and Media Institute (CMI) said Black "appears as Jesus rebuking the Proposition 8 supporters while munching on a shrimp cocktail and saying that the Bible condemns eating shellfish too. Then he [Black] reels off some scrïpture references without context to suggest that the Bible is self-contradictory and unreliable." In their press release (December 4, 2008), CMI described Black as "an anti-Christian bigot."

Others claim last month's public "prayer" to Satan was just a publicity stunt to promote the new heavy metal video game, "Brutal Legend."

But regardless how one looks at Black's actions, it sets a dangerous precedent. Author and King's College professor Paul McGuire labels Black's prayer to Satan as "just the tip of the iceberg of what is happening in our nation and in the entertainment industry." The conservative commentator contends that "although it is hidden, Satanism is one of the fastest growing religions in America." He adds: "We can expect to see Satanists demanding and getting the same rights as any other religion."

Former Hollywood actor Bob Turnbull says Black's prayer to the "dark side" was "pathetic and sick," which shows a "heartbreakingly sad" side of Hollywood's culture. Turnbull, also known as the "Chaplain of Waikiki," knows a little something about Hollywood. In the '60s and '70s, he appeared in a number of well-known movies (The Little People, Camelot, Tora Tora Tora) and television shows (Hawaii Five-0, Petticoat Junction, My Three Sons, Bob Hope Chrysler Theater, Another Life).

Phil Magnan, director of BFamilyAdvocates.com, chimes in, wondering if Black "really knows what he is invoking or has any idea how destructive Satanism really is."

Radio talk-show host Jesse Lee Peterson has a different take on Black's prayer. Peterson is instead at odds with MTV, the network that hosts the awards. He says it is "disturbing that MTV continues to promote the most degenerate and base programs on its network....[They] intentionally air programming designed to seduce and corrupt the minds and hearts of America's youth" (like Sex...with Mom and Dad, among others).

Ultimately, McGuire believes there could be some encouraging signs to come. While he affirms his belief that the level of darkness will continue, the Christian author strongly believes that simultaneously Americans will "see a revival among the youth similar to the Jesus Movement in the '70s."

Before I launch into today’s post, I want to take a minute and tell you that my daughter was run off the road yesterday by a Mercedes that was two feet over the line, on a two lane highway. Her Explorer sport, rolled over one and a half times and landed wheels up in the air. Miraculously she crawled out of the driver side window that was broken and sustained minor injuries. We spent 5 hours in Hospital with her yesterday. If you saw the car you would wonder how anyone could survive… Her car is totaled and while she has liability insurance, the car was not covered as it is 11 years old. All this to say that the enemy comes to rob, kill and destroy. It was my first day home and I was looking forward to spending some down-time with my wifey. We were thankful that Sarah was not seriously injured, but we were exhausted by days end… The battle is real and the stakes are high.

Ritual Sex magic is coming right into our homes via the Internet and MTV. The latest in an unholy precession of pornographic priestesses is Lady Ga Ga. The media has elevated her to superstar status. However, there’s not much talent here. Certainly nothing musically that would cause critics to extol her. She has a mediocre voice and her songs are as forgetful as a Big Mac. What drives the success of Ga Ga and others of her ilk is that they are immersed in the occult world of Satanic, ritual sex magic.

I watched the video of Alejandro, while I was on the road. It was linked on the Spirit Daily Web site. I recoiled when I saw it and wondered how our culture could have slipped so far into the gutter. In one of the images Ga Ga is holding a pillow, with a crystal heart on it. The image brings to mind the Aztec human sacrifices that were made to their demon gods by the thousands.

Is this a modern offering? The video is dark, and features jack-booted dancers that look as if it could have been made in Hitler’s Germany in the 1930′s. Ga Ga is a New World Order, temple, priestess and the masochistic, fornicating gyrations are so over the top, that I turned my eyes away. This is a far cry from watching Elvis the pelvis in the 1950′s, or the Beatles singing, I Want To Hold Your Hand….

Ga Ga is clothed in “catholic” images – she’s dressed as a nun with a red crusader cross on her habit – which hails directly from the Babylonian mystery schools. The man-made establishment of nuns and priests has nothing to do with anything that Yashua said, and you won’t find any of it in the Guide Book to the Supernatural, i.e. The Bible. Nevertheless Ga Ga uses these religious images in an overtly perverted sexual way.

I choose the picture above deliberately because this is the real Ga Ga without makeup and studio lights. Ga Ga’s real name is Stefani Joanne Angelina Germanotta. Look closely at her countenance, especially around the eyes, which we are told is the window to the soul. The woman looks broken and empty to me. She is a pawn in something much larger than herself that seeks to lead our children into the ominous world of the occult.

Ritual sex magic opens a person up to the demonic. I can’t say it any clearer. The images that are in this video are deliberately used to entice those who watch it into a relation with dark, satanic forces.

All of this to say that in my opinion, it is another “sign” that we are in the last days. I will not post a link to the video, you can find it on your own if you want too. On one hand, this kind of perverse slime needs to be called out for what it is. On the other, it soils the person who watches it. I am a vexed man. The culture that I find myself a part of, is not anything that I would embrace. As a nation, we are exporting ritual sex magic through the airwaves to all the countries of the world. Babylon is alive and well and her followers are many, as over 28 million people had viewed Ga Ga’s, Alejandro on YouTube.

We are living in the days of Noah, where we are told: The Lord saw how great man’s wickedness on the earth had become and that every inclination of the thoughts of his heart was only evil all the time.

(NaturalNews) If you've ever wondered about the true mental sickness of the entertainment industry, look no further than Lady Gaga. She rose to fame and has become a teen favorite by pumping out tunes like "Love Game" where she belts out lines such as "Let's have some fun, this beat is sick, I wanna take a ride on your disco stick."

Seriously. This is the stuff your teenage kids are piping into their brains through their iPods, by the way.

And that's just the beginning: Lady Gaga is also largely responsible for the new craze of wearing "dilated pupil contact lenses" which make young girls appear to be either sexually aroused or stoned. These contact lenses are potentially dangerous, and they are being brought into the U.S. illegally, bypassing FDA approval. But thanks to Lady Gaga, young girls are increasingly interested in wearing them so they, too, can look "aroused and stoned" in order to arouse potential sex partners.

But there's more to this sick story: Lady Gaga was recently honored at the 2010 MTV Video Music Awards, where she received a whopping eight "moonman" awards as well as Video of the Year honors.

To accept these awards, Lady Gaga actually appeared on stage wearing a dress made out of animal flesh. Yes, she was literally draped in animal flesh. This has been reported as her "red meat dress."

"Meat is the decomposing flesh of a tormented animal who didn't want to die, and after a few hours under the TV lights, it would smell like the rotting flesh it is and likely be crawling in maggots -- not too attractive, really." says PETA on its website ( http://blog.peta.org/archives/2010/... ).

Is Lady Gaga a worshipper of death?

But it goes far deeper than that. Anyone who would wear a dress made out of red meat is, for starters, mentally ill. But Lady Gaga goes far beyond just mentally ill, reaching to depths of necro-worship that make her appear almost Satanic.

In an upcoming live event, she promises to be surrounded by on-stage corpses. It is being widely reported across the 'net that she plans to put dead human bodies on stage as part of her "act."

Now, for those who really know what goes on behind the scenes of the entertainment industry, this probably comes as no surprise. There has always been a bizarre element of dark energy at work at the fringes of this industry, but Lady Gaga may be taking it to a whole new depth of darkness. Here's why:

Google a woman named Lina Morgana. Lina is now dead, but she worked creatively alongside Lady Gaga until one day she mysteriously fell ten stories from a tall building and was crushed to death when she hit the pavement.

An article on MyDeathSpace explains how everyone familiar with Lina was shocked to see how Lady Gaga stole her act: "It was the same style, the same look, the same music, the same voice, the same jaw line - the way they expressed themselves," said Schwab. "And I was like, 'Is that Lina?' It was so, so shocking. It was like looking at a ghost." ( http://www.mydeathspace.com/article... )

Lina Morgan was only 19 when she died ( http://www.linamorgana.com/ ). The circumstances of her death and the similarity between Lady Gaga's current act (wig, stage presence, attitude, etc.) and Lina Morgan's previous act is highly suspicious, lending an element of curiosity to some of the circulating theories about her death.

Is Lady Gaga a threat to mental health?

Now, before we go any further, you might wonder what is this story doing on NaturalNews.com? It's simple: I believe Lady Gaga is a danger to the mental health of those who listen to her music.

In my opinion, her music is a mental assault filled with lewd, sexed-up lyrics that promote teen sex while avoiding any mention of all the responsibilities that should go along with such topics (birth control, parenting, safe sex, abstinence, consequences of pregnancy and so on).

Furthermore, her incessant promotion of sexual promiscuity and dilated pupil contact lenses is a threat to your children's physical health (eye infections, anyone?). And finally, Lady Gaga may actually be radiating some kind of Satanic or necro-worshipping vibe that could trigger all kinds of bizarre death-related thoughts or behavior in impressionable young teens (who for the most part, let's admit it, literally worship these entertainment "gods" such as Lady Gaga).

Now, frankly ignored Lady Gaga's desperate attention-grabbing act up until the point where she wore her red meat dress made out of animal flesh. To actually drape dead animal flesh over your body and wear it on stage is almost a public admission that you're either mentally deranged or some sort of worshipper of death (perhaps both).

Taking all this with a grain of salt, it's true there is a lot of bizarre and untrue gossip about celebrities on the 'net. Everyone I know who is even semi-famous has been subjected to utterly false accusations at one point or another. But Lady Gaga is proving her critics right through her own behavior. Her agenda is blatantly obvious as she now flaunts it on stage, almost as if to say, "I dare you to catch on to what I'm doing."

What she's doing, it turns out, is infecting the minds of our youth with truly dangerous ideas about sex and seduction while wrapping these ideas (and herself, literally) in flagrant necro-worship. It would be no surprise, after all, if Lady Gaga actually featured herself on stage having sex with a propped up erection from a corpse. That's precisely the kind of thing she might conceivably do because it combines her two favorite messages: Sex and death. (It would also keep the tabloids talking for weeks...)

That's why I urge all NaturalNews readers to ban Lady Gaga material from your household if you haven't already. Her music and lyrics are, in my opinion, extremely destabilizing to the mental and physical health of children and teens. If your teens are listening to this stuff, they may be headed down a dangerous path requiring some intervention on your part.

Teens, almost by definition, have not yet developed the mental capacity to make wise decisions in their own long-term interests. They are short-term thinkers, almost to a fault, and most of them have virtually no ability to understand how and when they are being influenced. They worship singers like Lady Gaga while having no clue about the ways their minds are being warped through her lyrics and videos. (They also wear Nike shoes, designer jeans and Axe cologne, having no clue that virtually all their product consumption decisions have been spoon fed to them by carefully engineered, corporate-sponsored behavioral influence campaigns. But that's another story...)

This is why it is up to parents to protect their children from these deranged pop stars and their dangerous messages. Mind you, I'm not against music (in fact, I strongly support musical expression and freedom of speech, and I happen to be a musician myself), and I've never spoken out against any music artist in the past. But as I see it, Lady Gaga crosses the line from artistry to insanity, perhaps even delving into Satanic witchcraft or some other dark rendition of psychosis. To allow our children to worship her as a music goddess is to expose them to a highly destabilizing belief system that can only lead them down a dark path of self destruction.

#4) Do not financially support the Lady Gaga profiteers. Don't allow your children to buy music, concert tickets, T-shirts or any other items that financially benefit Lady Gaga and her marketing minions.

#5) Talk to your teens about sex from a responsible parenting point of view. Explain the long-term effects of an unwanted pregnancy and teach either safe sex or abstinence, depending on your own philosophical or religious beliefs.

#6) Consider home schooling for your kids because it may help protect them from the destructive influences of mainstream school kids who are, by and large, Lady Gaga worshippers. (Home schooling isn't for everyone, but it's increasingly working for lots of families.)

Remember, you must make a real effort to counter the messages being imprinted on the minds of your children by the entertainment industry. Music is a powerful carrier of unconscious information, and that's exactly why I've turned to music to help educate people about the dangers of vaccines, for example.

There are positive uses of music, but Lady Gaga unfortunately uses music to negatively influence the minds of children and teens, turning them towards sexual deviancy and the worship of dead flesh or dead bodies. In my opinion, Lady Gaga suffers some kind of genuine mental sickness that should be kept as far away from our children as possible.

Nicole Scherzinger may have a lot of achievements under her belt so far but the singer is yet to scoop the big awards, however, don't expect her to “sell her soul to the devil” in order to win a Grammy. The 34-year-old, who released her new single 'Boomerang' this week, claims that she is an unlikely candidate for a Grammy Award or even an Oscar following her movie debut in 'Men In Black III' last year, as she is “too classy” and would have to change who she is to qualify for a nomination at the prestigious awards.

“This is such a tough industry, you know. To make it, you really have to sell your soul to the devil,” Nicole admitted in an interview with The Independent.“That's probably why I haven't quite reached the top of my mountain. I mean, where's my Tony Award, my Grammy, my Oscar? Why don't I have any of those things yet?” In the same interview, Nicole also said she probably would have gotten further in her already successful career if she were “more slutty.”“I come from the most religious family. My grandfather is a priest. And if they support me in all this, and they do, then I'm OK. I'm being sassy and classy; I'm having fun,” Nicole explained.

GRADE SCHOOL STUDENT THREATENS TO SACRIFICE HER CLASSMATES TO SATAN – SAYS SHE'S IN THE ILLUMINATIposted : 3 hours agonatalina

A combined 5th and 6th grade classroom at John Sloat Elementary School in Sacramento, California was terrorized on Thursday during a student’s outburst in class. The young girl reportedly said she wanted to sell her soul to the devil, and threatened to “kill everybody.”

“I was scared,” Ibarra said. “And I was crying really bad.”Students said a 5th grade girl started shouting she was part of the Illuminati and threatened to kill other students.“She said she wanted to sell her soul to the devil,” Ibarra said. “And she said she’ll kill everybody.”“Everybody just started crying because they were scared that they were going to die that day,” 6th grader Elizabeth Martinez added. Martinez was also in the class and witnessed everything.

According to classmates, the teacher simply told them to ignore the girl’s tirade as she allegedly wrote “666″ on the bathroom wall, and screamed about a hit list that included the names of fellow students.According to CBS Sacramento:

Citation:

“She said she kept on telling them ‘I’m the devil and he’s the devil too. We here to kill people,’ ” said Juanita.Hiding inside a bathroom stall, Juanita says her 6-year-old granddaughter was shaking as the sixth grader was allegedly making the threats.“She seen the girl, the girl had painted like orange red horns,” said Juanita.Antonio says his son told him the girl was making similar claims moments before inside the classroom.

“Gave or sold her soul to the devil and she had a list of kids she wanted to kill, and on that list was my son’s name,” he said.

Later on Thursday evening, parents received a text message from the school alerting them of the incident. They also sent children home on Friday with a letter that outlined a sentiment similar to the official statement of Gabe Ross, SCUSD Chief Communications Officer:

Citation:

“Authorities are investigating a disturbance inside a John Sloat Elementary School classroom. The school responded immediately and all students were safe. The incident did not involve weapons and no one was physically harmed. Counseling and other resources have been made available to all John Sloat students today and will continue to be available as needed.”

Classroom eyewitnesses disagree with the claim that no weapons were involved. From CBS 10:

Citation:

“I seen her try to cut herself and draw blood,” 5th grader Xavier Monti explained what happened in the class. “But then she got up and tried to stab another girl a seat away from her.”

Families of the kids involved report being very upset that they weren’t alerted right away about the incident. Students appear to have been understandably traumatized by the event. One young girl told her grandmother, “I close my eyes and I can see the girl, and I don’t want to go to sleep.”

These disciples of primitive black-metal inspired by Mayan culture returned this year with a new demo on Nuclear War Now Productions. So we decided to contact Marco Ek Balam, leader of the ancient horde, to learn more about the past, present and future of the band. His story is the one of the rising underground metal scene in the ’80s and it’s one to be praised! What follows will bring you back to an age where internet wasn’t there and the gods of the underworld were marching onwards the face of the earth. Enter the Xibalba!

Cooking With Satan: Greetings to you! First of all, thanks for accepting to answer these few questions… How are you today?Marco Ek Balam: We’re fine, thanks.

CWS: So Xibalba is back and that is awesome news!!! What motivated this reunion after a 14 years hiatus? Is Xibalba back by popular demand?

M: There was a demand for our early recordings, yes. But I think the passion we have for music makes us come back as well.

CWS: Can you travel back in time a little? Please tell us in which circumstances the band came to life and explain why the band went AWOL four years later in 1996?

MEB: We have always been immersed into this kind of music, practically since we were little kids in the beggining of the ’80s. We used to listen to a lot of hard-rock and heavy-metal from the ’70s back in the days and we lived the transition of that music to a more extreme style. Music was changing and developing really fast back then. So it came a time at the end of the ’80s when we felt the need to contribute and start a band. We merged two of our most important roots: first our musical background and second our cultural roots, which gave us the identity and the connection to our homeland.

From ’88 to ‘89, we began to put all these ideas together and started some rehearsals and songwriting. In ‘92, we released our first demo tape.

In retrospect, I think everything was moving too fast. Too many styles in a very little period of time, which was also really amazing. The situation here was that in the late ’80s we saw something wrong happening in the death-metal genre. Suddenly there were too many bands, all of them sounding the same and everything was starting to get boring. So we decided to go back to the beggining of the ’80s. Listening again to the first bands that started it all and that’s pretty much how we started the band in a black-metal way. Mainly under the influence on old Bathory, Celtic Frost and several past influences, some were black-metal some were old thrash as well.

But as we were going through the ’90s, the same thing that killed death-metal happened again. Suddenly everybody started to jump into this black-metal trend and that was also starting to kill this new refreshing sound. I think that’s why we lost our interest. Also, another thing was the fact that we needed a lot more of solid support and promotion, which in Mexico City is not easy to get.

So we just released our final recording in ‘96, and that was it.

CWS: Right. You say on the Xibalba website: “we were young kids and ended up the way it began…

MEB: We were young kids sure about what we wanted to do. Really passionated for the whole music thing, at a level that if it was turned into a fashion trend then we would just sent all to hell.

In the same way we got everything into the band, it was the exact same way we just left everything aside and moved onto different things.

CWS: On a more personal level: what were the first records you owned? And how did you start playing music? Was your family supportive of that commitment to the metal scene?

MEB: It is hard to remember, as we were all kids as I have said. It must have been a Kiss LP, “Dressed to Kill” I think, or the Led Zeppelin II LP, one of those. As the music developed, we were discovering new things. From the hardest heavy sounds, to black thrash weird sounds, punk-hardcore, grind-core, extreme punk-hardcore, death-metal, ultrafast death-metal and so on. We started to play, having heard all this varied stuff.

We started to get into our instuments in the beginning of ‘87, when Napalm Death’s “Scum” was the new biggest noisy and extreme thing. I think they motivated us to start playing…

It was very strange for our family. Mainly because the sound was too noisy and unbearable for them. They couldn’t stand the image as well. But there was never any negative attitude towards us. They never put any barriers to our interest. I would say they understood our craziness, more than being supportive. Which was good for us.

CWS: Xibalba being part of the second wave of black-metal bands, how did you discover this scene? Were you involved in tape-trading? Black-metal usually gives a strong impression to the new listener… What were yours?

MEB: As I have mentioned, we were involved in the likes of hard and heavy bands, since we discovered the music of the late ’70s… This must have happened in ‘83 or ‘84. There was no thrash-metal, there was no black-metal, no death-metal at the time. I think Judas Priest and Black Sabbath were the most heavy bands around. We used to buy a few albums at local record stores ’cause we didn’t have that much money to spend. And we got some information from the few local metal magazines, as well as by listening to the few heavy-metal shows at the radio.

I remember we got really shocked when we first heard Venom’s “Welcome To Hell”, it was so ferocious. Those vocals were Satan on earth. The whole satanic thing was really, really amazing for us little kids, back in those days.

Just picture yourself in a place where there was just hard and heavy music around, (Priest, Sabbath, Rainbow, Zeppelin etc…) and suddenly Venom arrives. Your whole world changes so drastically in a single minute!

Then we discovered, one by one, the rest of the bands, at a time when music started to change. Many new styles were created. Developing rapidly in a more and more ferocious, aggressive and fastest sound so incredibly. And we were the happiest kids on the face of the earth.

We used to buy mostly tapes of this new music, we couldn’t afford that many records in those days. And we got immersed into every style that was emerging. We didn’t care as long as it was loud, fast and good. From hard and heavy, to thrash, black, punk, extreme hardcore-punk, grind-core noise or whatever new sort of extreme quality thing. I’m talking about the period from ‘83,’84 to ‘87.

I think we started the tape trading in ‘87. Mainly because there were a lot of little underground bands from the then new grind death noisy scene. There were too many new and good bands without record deals, and the only way to listen to them was by ordering or trading their demos, which were not easy to find. Tape trading was the solution. It was really great for us. The small zines helped a lot as well, to promote and distribute great news from new bands from all over the world.

I have said we discovered Venom when there was nothing else around, I still don’t remember very well, ‘83 or ‘84). The impact it caused was really, really big for us. Then came Metallica, Slayer, Voivod, Mercyful Fate and a huge list. And when we heard Bathory’s first album, the impression was awesome as well. The vocals, the music. It’s hard to express that with words, this huge impact that we felt. I think you would need to be there, when all of this was happening.

It was not a thing of black-metal, death-metal, heavy-metal or whatever… The particular style didn’t matter at all. It was the musical thing in itself. A new ferocious, fast and horrendous music was taking over the whole world. And I can tell you that having these memories is something unique for all the people who lived it in the same way we did!

CWS: Your first and only album to date “Ah Dzam Poop Ek” is now considered a cult record… What do you remember of the recording sessions? Were you aware back then that you were about to unleash a phenomenal release?

MEB: When we recorded that album we were really into it. Our passion for music was renewed again, ’cause the death-metal genre was dying in a boring trend. And this new sound, taken from the past bands, was injecting something fresh and ferocious again, like it was in the early ’80s.

Every song was well thought, and we just wanted to record a great album. Never thought the interest of the people would last to these days.

I just remember rehearsing each song and then getting into the studio to unleashed the whole album. It was really great doing it.

CWS: Did you do anything music-wise while you were awawy from the scene?

MEB: We did something different. The music scene was getting suffocated, as death-metal was, so we turned into a different style. So different that we couldn’t called it Xibalba, so I think the best option was to just leave everything behind.

I think we got back to our elder musical roots in that project, something more like hard and heavy stuff. Never promoted anything. Which was the right decision.

CWS: After so many years, do you have the same relationship with music? Not only as musicians but also as fans?

MEB: We never stop listening to all the music that grew with us. Sometimes we listen to our old records from hard and heavy bands (we even have found and bought the CD versions), and sometimes you feel in a mood for the good old extreme hardcore punk, or thrash, or grind core… All that music is part of us.

You cannot talk to us about a particular style, ’cause reffering to a style it will only take us back to were the whole thing began.

As musicians we don’t have the same contacts we used to have. We don’t do that much trading anymore and we’re not involved with the local bands and scene around as much as we were in the past. We’re not looking for new bands either, ’cause music hasen’t developed anything new since the early ’90s, which is sad.

When you have been a part of this since the very beginning is hard to get impressed nowadays. That’s a reason why many bands from the past came back and are still good, with their great and immortal past glories, releasing some new and great interesting records in these days.

CWS: When Xibalba went out of the radar in 1996, black-metal started to be highly exposed in mainstream media. Now you’re coming back, it’s 2010, there are thousands and thousands of bands on myspace and black-metal is like any other well established metal genre with all its clichés… What are your thoughts on that?

MEB: That’s what happens to any music with the help of time. Heavy and extreme music in general is not as impressive as it was in the past ’cause now it’s accepted in some way. And that’s pretty sad too. Even the rebelious fast punk music, that was considered music for gangs and violent people, is now accepted by any kind of kid.

I think the world is totally different now, with the advance of technology and the access to everything with the internet. Everybody can listen to any musical style.

And I also think these advances in technology have killed something good we used to have in the past, within the whole music scene. That feeling of uniqueness is gone.

But it’s all part of the development of the whole world, and there’s nothing you can do about it. In the early ’80s when there was nothing, it was a horrible crime to listen to a band like Venom. Seeing some boy with spiky punk hair in the street wearing a Discharge shirt was a reason to run away. Nowadays, the most popular pop stars appear on MTV with spiky hair on reality shows and some magazines gives you the ten tips to get the best black-metal make-up for halloween parties. It seems that everything is a big joke now.

But we still have the passion for the music, and we’re doing music the way we feel the sound should be. It has been an important part of our lives, since the very beginning. We have to continue to praise the roots in order to keep the atmosphere alive.

CWS: Congratulations for the demo! For all our readers who would be interested, what’s the best way to get a copy of it?

CWS: Why did you actually decide to release a demo and not an album which is I guess something you could have done? Did you want to keep that the old-school way?

MEB: Not really. We had these songs and we recorded them, ’cause we just wanted to show Nuclear War Now (their label) the sound of the bands in these days. Those songs we’re never thought to be release. But in the end we got an agreement and decided to do it as a demo. I think there’s many people still interested in those formats and we are very pleased with the final product.

CWS: Can you present us the new line-up? Are you still the main composer in the band?

MEB: The actual band is: Victor Ehxibchac on bass guitar, Jorge Ah Ektenel on drums, and Marco Ek Balam on guitar and vocals.

Everybody can write something for the band. Sometimes I give the main riffs and the rest of the band put everything they want on it. Same for the Lyrics.

CWS: The guitar work on the demo brings a new aura to Xibalba music, some kind of cosmic dissonant vibe… Is that where you wanted to go with these new songs?

MEB: As I told you before, it was never meant to be release. Now that I heard it, I think it’s a very good and great demo. We added this delay to the guitar sound and I’m very pleased with the atmosphere it creates.

CWS: Also your music always included some psychedelic elements (like the ritualistic “Bolontiku Vahom” on the first album or the use of vocoder on “Rituals In The Sun” on the new demo for example) so I was wondering where these psychedelic influences were coming from?

MEB: From the cosmic regions I think. It has too much to do with our cultural roots, in a first place. The ancient Mayan people developed this accurate wisdom and phylosophy of space and time. And it is told the whole culture went to outerspace, when they vanished from the face of the earth.

Musically we have thousands of influences as I have stated.

CWS: Xibalba based its lyrical concept on Mayan mythology. Is that still the case on the demo?

MEB: Yes.

CWS: What are you referring to in the song “Like Leafs They Fall”?

MEB: You had to read between the lines, I think you can figure it out.

CWS: Could you develop this Mayan concept for us? What is the Xibalba exactly?

Could you describe to us the different gods or rituals in Mayan mythology that are the most appealing to you and that you summon in your lyrics?

MEB: The Xibalba is the underworld. The ancient Mayans believed that the world was formed by two pyramids. One heading upside to the skies, with 13 gods in each step. Below there’s a pyramid heading upside down with nine steps, this is the Xibalba, on each step there’s a lord of the Xibalba.

The main ritual is the ball game, in which two teams compete to get a ball into a little hole hanging up from a wall of stone, using their feet or hips only. He who loses offer his soul to the gods.

There are a very vast field of gods in the whole prehispanic cultures of Mexico. The most important to the ancient Mayan Culture is Chac god of the rain, as well as Itzam Na, who founded the city of Itzmal and dwells in the final step of the upside pyramid that leads to the skies.

CWS: Are these myths merely a source of inspiration for your lyrics and some kind of gimmick, just like the scandinavian bands singing about Odin, or something in which you are spiritually involved in everyday’s life? Do you believe in these gods?

MEB: It’s a matter of spiritual release. Our gods set us free from the outside enslavement. Institutions such as family, religion, school, church or the media, fill your head with standard thoughts. Fill your head with norms and rules built in established hierarchies, in established systems, created by the people in power. The only way to find freedom of mind, spiritual release and identity is to find a connection to your own roots. And one way to get that connection is to get near the ancient gods and customs.

It’s not a matter of believing, but a matter of awakening, to find spiritual and mind release from the outside fake and subliminal world.

CWS: Do you have some special magical place where you hang out and gets inspiration?

MEB: We like to visit the ancient temples, the ancient pyramidal realms. We have many ceremonial places in our country, not only the Mayans. And yes, they have a great influence and are a very important source of inspiration to our music and atmosphere. Chichen Itza, Teotihuacan, Monte Alban, Tulum etc…

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CWS: How do you explain the strong correlation with black-metal and primitivecultures?

What is the true essence of black-metal according to you?

MEB: Black-metal, since the very beginning, has a primarily satanic element into it. Lucifer rebels against the established system: god in heaven. These are religious topics, and because of that, the music has to generate some sort of spiritual sounds. These spiritual sounds create an atmosophere of evilness and horror in the music. It fits for us, because we’re heading to a spiritual release, away from the established systems in contemporary societies. We’re looking for release from the enslavement provided by scumy institutions.

Freedom of mind. Some kind of rebellion, like Lucifer maybe (in religious words)…

The music that creates an evil atmosphere is perfect for us, ’cause we can make a transition to a prehispanic atmosphere. It allows us to install our ancient realms and plant the seed of our ancient gods into it. That´s the way we kill the fake institutions and find freedom of mind and spiritual release. It’s all about not accepting the established and about being aware of that. It’s not about jumping from a flock of god to a flock of satanic rules and norms. It would be useless to just jump from a flock that give you norms, to another flock that gives you different rules and norms. Again: it’s about looking for freedom of mind and spiritual release.

That’s the connection I see. You have to be aware ’cause otherwise you could get tricked and still be enslaved without even noticed it.

I think black-metal is one of many keys to attain freedom of mind. There are other kinds of music, or other kinds of stuff that could be different keys to the same purpose, but if you´re not aware, all of this could only represent just another prison cell.

CWS: The Mayan calendar also states that the world ends in 2012. What are your thoughts on that?

MEB: We all are going down on 2010.

CWS: Ok now, stupid question: what did you think of the movie Apocalypto???

MEB: It sucks. Don’t see it. Destroy it if you have a copy. It’s nothing but a pretencious hollywood success and nothing else.

CWS: Also: shamanism and the use hallucinogenic plants such as peyote or ayahusca is a strong part of south american and mexican folklore. Could that be related in any way to Xibalba? Have you ever had such experiences or use any other consciousness altering substances to create Xibalba music?

MEB: Not really, we like to travel through meditation, no substances needed to attain the unknown, nor natural plants.

CWS: So what’s coming next with the band? I heard that you’re about to record a new album! That’s amazing. What can we expect? Is it recorded yet? Please give us details!

MEB: That´s correct. We’ll start recording in a few days. We have plenty of material to choose from. We don’t have any details yet, we have to still think about the name, artwork etc…

Xibalba Flyers

CWS: You played some time ago a gig in Chicago… Did you play one unique gig in the states or was it part of a bigger tour? I assume it was your first live show in a long time, how did that go? And finally: how do you approach a live performance, mentally and physically?

MEB: It was great, we had a great response from the crowd. It was just a small gig in Chicago. We don’t play live that much, cause we think the atmosphere lies on the records, but doing a few gigs is fine.

We just concentrate on the songs and try to create the same mood from the album, it is important to get the atmosphere and involve the crowd in it.

CWS: Do you plan more live shows in the near future?

MEB: We’re going to the Nuclear War Now Fest Vol II, that will take place in Berlin, Germany on November 19, and problably we’ll be visiting Texas in the next year.

That’s all until now.

CWS: Mexico is reputed for its quite intense, frantic crowds at live metal shows. Is that something that you notice even more when you’re playing abroad? What’s your craziest live experience on stage and also as part of the audience?

MEB: Recently everything has developed with no incidents. But the crowds are wild by nature, moving, banging all the time and drinking a lot. The usual crowds, you know.

I remember an old gig, back in the ‘90s, when some guys that couldn’t get into the gig broked into the place. Suddenly, during performance, I discovered my guitar cable was cut off and had no sound, while everybody was still playing. There was some kind of crazy slam dancing in the pit. Sometimes we had to slam the kids off the stage with our instruments, ’cause they were getting to close to the band. We shared that gig with a punk band, there were not that many black-metal bands around in those days in Mexico, that’s why the crowd got violent I think, a punk crowd. Anyway, that was it.

CWS: Can you tell us a little bit more about your life in Mexico? Have you always lived here? Are you involved in the metal community there?

MEB: Yes we have always lived here, but there’s not much to say about it, It’s a country that musically doesn’t offer that much development, it needs a real solid infrastructure to allow bands to growth. The country is rich though in cultural treasures: the ancient monuments and temples, architecture, sculpture, painting, as well as all the religious traces from vast cultures. Wisdom is vast in the whole lands.

We’re not that much involved in the metal scene as we were in the past, just a little in terms of agreements for local gigs and to spread the news about our releases.

CWS: If you had the possibility, what would you change in your musical career?

MEB: I don´t think I would change anything. It is useless to even think about it.

CWS: Is there anything else that we didn’t cover up here and you wanted to share with us?

MEB: Thank you for the interview.

Watch out for the new album. Visit our site for constant info about the band:

EMINEM 3 A.M: MASS SATANIC SACRIFICE RITUAL Eminem is possessed with demons at 3 A.M in an alter state and goes on a mass killing spree in the hospital and masonic temple. However, he doesn’t remember or recollect the memory. “I don’t remember how they got there, but I guess I must have killed them.” The video is complete with a blood bath ritual and particular references that are all relevant to Monarch programmed slaves. Proof was sacrificed on the 11th as a blood sacrifice, and after checking himself into rehab/reprogramming, he came back with this hit single.

Starts off with Eminem in a forest, like he just woke up from a dream. (No memory)

The hospital Eminem went to rehab in, for reprogramming with Dr.West featured on his album Relapse.

KANYE WEST: LUCIFER’S CHOSEN ONE, THE 21ST CENTURY SCHIZOID MANI guess every superhero need his theme music No one man should have all that power The clock’s tickin’, I just count the hours Stop trippin’, I’m trippin’ off the power (21st century schizoid man)… In this white man’s world, we the ones chosen So goodnight, cruel world, I see you in the mornin’ -Kanye West- POWER lyricsOn August 19, 2010, I was taken back and surprised when I received an e-mail of a new article published by The Vigilant Citizen entitled, Kanye West’s “Power”: The Occult Meaning of its Symbols.[1] I was particularly struck and alarmed by a picture on the website of Kanye West’s live performance on BET (Black Entertainment Television) 2010 Awards. My seven (7) year old granddaughter and family usually tune in on BET awards show on a regular basis. They may not have understood Kanye’s occulted subliminal messaging, but the image most certainly left an impression. What struck me as bizarre was that Kanye West appeared as a Luciferian image in a cloud of red glowing smoke on top of a mound overlooking a red volcano of fire ((red symbolizing fire, primal symbolism-Hell). Nevertheless, that Kanye has publicly admitted that he sold his soul to the devil;[2] I still didn’t believe my lying eyes. I immediately began browsing the web to verify the picture. Sure enough, it was an actual picture of Kanye West’s music performance of one of his latest musical raps, POWER.

In a recent interview with Marie Claire Magazine, pop star Katy Perry, a former contemporary Christian artist, announced that she no longer believes in Heaven or Hell nor professes to be a Christian.

“I don’t believe in a Heaven or a Hell, or an old man sitting on a throne,” she advised the magazine. “I believe in a higher power bigger than me because that keeps me accountable. Accountability is rare to find, especially with people like myself, because nobody wants to tell you something you don’t want to hear.”

“I’m not Buddhist, I’m not Hindu, I’m not Christian, but I still feel like I have a deep connection with God,” Perry continued. “I pray all the time—for self-control, for humility. There’s a lot of gratitude in it. Just saying ‘thank you’ sometimes is better than asking for things.”

As previously reported, Perry, an evangelical minister’s daughter, was raised in California, and was brought up to avoid secular music and television programs. She began singing as a Contemporary Christian artist at age 15, and released her first national album in 2001. In an interview with CCM (Contemporary Christian Music Magazine), she stated that one her musical influences was Keith Green, who was known to be bold in his lyrical witness for Christ.

However, in 2007, Perry signed with with the secular label Capitol Records, and released her first single, I Kissed a Girl, a number one hit that talks about experimentation with lesbianism. The popularity of Perry’s single brought continued national attention until she became one of the most well-known pop artists in the secular music industry.Perry’s parents, Keith and Mary Hudson, who lead Church on the Rise in Westlake, Ohio, state that they do not agree with all of the choices that their daughter has made in her music career.

In a book proposal by Perry’s mother, which was shopped in 2011, Mary Hudson reportedly outlined a number of concerns to set the record straight about her feelings.Connect with Christian News Follow @4christiannews

“I recognized the psalmist gift in her performance. Yet she sang out, ‘I kissed a girl, and I liked it,’ while thousands joined her,” she wrote. “One part of my heart soared … [but] the other part broke for the thousands of hungry souls being fed something that didn’t nourish their spirit, but fed their flesh.”

Perry’s father’s comments were angled differently.

“I love my daughter and I will always love her. Stop being judgmental and critical,” Keith Hudson stated. “God has given us a platform to go in and meet people—and they like us because we are cool. We are not threatening.”

Perry told Marie Claire that she acknowledges that her parents disagree with some of her choices, but said that they maintain a positive relationship.

“People don’t understand that I have a great relationship with my parents … like, how that can exist?” she explained. “There isn’t any judgment. They don’t necessarily agree with everything I do, but I don’t necessarily agree with everything they do.”

“They pray for me is what they do,” the singer continued. “They’re fascinated with the idea that they created someone who has this much attention on her.”In 2010, Perry admitted during an explicit interview with Rolling Stone Magazine entitled Sex, God and Katy Perry that she had turned away from many of the things she had been taught by her parents.

“Letting go was a process,” she stated. “Meeting gay people or Jewish people, and realizing that they were fine, was a big part of it. Once I stopped being chaperoned, and realized I had a choice in life, I was like, ‘Wow, there are a lot of choices.’ I began to become a sponge for all that I had missed—the music, the movies. I was as curious as the cat.”

“God is very much still a part of my life,” Perry asserted. “But the way the details are told in the Bible—that’s very fuzzy for me. And I want to throw up when I say that. But that’s the truth.”